THB  BUFFALO  FINE  ARTS  ACADEMY 

ALBRIGHT  ART  GALLERY 

BUFFALO,  N.  Y.' 


CATAL  O  G  U  E 

of  an   Exhibition  of  Paintings  and 

Tapestries  Collected  by 

Mr.  and  Mrs.  John  J.  Albright 


June  2d  ---  September  6th 
206  .  1921  -  6 


NOTES 

THE  Exhibition  of  Paintings  and 
Tapestries  Collected  by  Mr.  and 
Mrs.  John  J.  Albright  is  installed  in 
Galleries  XIV,  XVII  and  the  Sculpture 
Court. 

The  Albright  Art  Gallery  is  open  every 
day  from  ten  o'clock  a.  m.  until  five 
o'clock  p.  m.,  excepting  on  Sundays, 
Mondays  and  Holidays,  when  the  hours 
are  from  one  until  five  o'clock  p.  m. 

Admission  is  free  on  Tuesdays,  Thurs- 
days, Saturdays,  Sundays  and  Holidays. 
On  other  days,  an  admission  of  twenty- 
five  cents  is  charged. 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/catalogueofexhibOOalbriala 


The  ^Buffalo  Fine  Arts  Academy 
Albright  Art  Gallery 


CATALOGUE 

of  an  Exhibition  of  Paintings  and  Tapestries  Collected 
by  Mr.  and  Mrs.  John  J.  Albright 


June  2d--- September  6th 
206-1921-6 


STEVENSON  MEMORIAL 
By  Abbott  H.  Thayer 


7b§ 

Dbraix 

SRLF 
,     PAINTINGS  IN  OIL  / 

AMERICAN  SCHOOL 
GEORGE  INNESS,  N.  A.  (1825-1894). 

1.  Summer,  Montclair  (29x38). 

GEORGE  DE  FOREST  BRUSH  (1855-    ). 

2.  Family  Group  (50x60). 

DWIGHT  W.  TRYON,  N.  A.  (1849-        ). 

3.  MoRNmc  (20x31). 

ABBOTT  H.  THAYER,  N.  A.  (1849-1921). 

4.  Stevenson  Memorial  (84x62). 

EDMUND  C.  TARBELL,  N.  A.  (1862-'       ). 

5.  Family  Portrait  (49J^x39J-4). 

HORATIO  WALKER,  N.  A.  (1858-        ). 

6.  A  Summer  Pastoral  (185^2x27). 

FREDERICK  BALLARD  WILLIAMS,  N.  A.  (1871-        ). 

7.  Three  Women  Dancing  (24x16). 

GEORGE  HITCHCOCK  (1850-1913). 

8.  Holland  Women    (3834x73). 

MRS.  ABBOTT  H.  THAYER. 

9.  Study —  Still  Life  (21^x18). 


1904640 


FRENCH  SCHOOL 

JEAN  BAPTISTE  CAMILLE  COROT  (1796-1875). 

10.  View  of  Douai  (20x25). 

LEON  AUGUSTIN  L'HERMITTE  (1844-        ). 

11.  Haying  (301/2x39). 

CONSTANT  TROYON  (1810-1865). 

12.  VaLLEE  DE  LA    TOUQUES    (l6x28). 

JEAN  JACQUES  HENNER  (1829-1905). 

13.  Red  Haired  Woman  (26x18). 

CHARLES  EMILE  JACQUE  (1813-1894). 

14.  Supper  Time  (29x37). 

15.  Sheep  (8x11). 

NARCISO  VIRGILIO  DL\Z  DE  LA  PENA  (1809-1860). 

16.  Forest  OF  Fontainbleau  (17x25). 

17.  BoccAcio  (10^^x17). 

JEAN  CHARLES  CAZIN  (1840-19C0). 

18.  Landscape  (14^x13). 

LOLTS-EMILE  ADAN. 

19.  Le  SoiR  (16x26). 

20.  Le  Soir  d'Automne  (16x26). 

PAUL  SAIN. 

21.  Nenuphars — Water  Lilies  (52x64). 

J.  LE  BLANT. 

22.  Young  People  on  Tf.rrace  (32x21  J^). 

RENE  GILBERT  (Nineteenth  Century). 
22,.    The  Etcher  (24x26^). 


ANDRE  ANTOINE  CROCHEPIERRE  (i860-        ). 

24.  Le  Benedicite  (16^4x25). 

EMILE  BRETON  (1831-1902). 

25.  Crepuscule  d'Hiver  (31x18}^). 

BELGIAN  SCHOOL 
ALFRED  STEVENS  (1828-        ). 

26.  Moonlight  on  the  English  Channel  (20j^xi6-/2). 

EMILE  CLAUS  (1849-        )• 

27.  Two  Peasant  Girls  Returning  from  Haying  (31/^x37). 

ENGLISH  SCHOOL 
SIR  THOMAS  LAWRENCE,  P.  R.  A.  (1769- 1830). 

28.  George  the  Fourth  (36x28). 

(From  the  collection  of  the   Duke  of  Cambridge.) 

SIR  JOSHUA  REYNOLDS,  P.  R.  A.  (1723-1792). 

29.  Portrait  of  Lady  Chambers  (24x29). 

GERMAN  SCHOOL 
HEINRICH  ZUGEL  (1850-        ). 

30.  Cows  (i6i:;x25). 

LUDWIG  V.  ZUMBUSCH. 

31.  Head  of  a  Boy   (13x10). 

WENZELVON  BROZIK  (1851-1901). 

32.  Officer,  17TH  Century  (28^x20). 

F.  HEILBUTH  (1826-1889). 

2,3.     Reverie  in  the  Green  (jVsxiSyi). 


SPANISH  SCHOOL 

MARIANO-JOSE-MARIA-BERNADO  FORTUNY  y  CARBO 
(1841-1874). 

34.  A  Summer  Day  in  Seville  (7x5). 

CHfiCA  Y  SANZ  (Ulpiano)  (i860-        ). 

35.  Place  he  la  Republique,  Paris  (33x58^/$). 

DUTCH  SCHOOL 
ANTON  MAUVE  (1838-1888). 

36.  Sheep  at  Stable  (225/2x32^).  • 

JOZEF  ISRAELS  (1824-        ). 

2,T.    Woman  Warming  Her  Hands  Over  Fire  (36x25). 


ITALL^N  SCHOOL 

RUBENS  SANTORO  (1843-        ). 

38.  View  Near  Naples  (6x13). 

39.  Scene  on  the  Nile  (17x13). 

FRANCOIS  BRUNER  (Nineteenth  Century). 

40.  Coast  (13x22). 

PASTELS 


AMERICAN  SCHOOL 
DWIGHT  W.  TRYON,  N.  A.  (1849-        )• 

41.  Sea  (9x15). 

42.  Landscape  (7x9^/^). 

JULES  GUERIN  (1866-        ). 

43.  Porta  Camollia-Siena  (i6V^xi2i,'^). 

8 


FRENCH  SCHOOL 

LEON  AUGUSTIN  L'HERMITTE  (1844-        ). 
44.     Harvest  Field  (12^x18). 

WATER  COLORS 


AMERICAN  SCHOOL 

THOMAS  W.  DEWING,  N.  A.  (1851-        ). 

45.  White  and  Gold  (11x7). 

JULIAN  ALDEN  WEIR,  N.  A.  (1852-1920). 

46.  Morning  (15^^x13'^). 

FRENCH  SCHOOL 

JEAN  LOUIS  ERNEST  MEISSONIER   (1815-1891). 

47.  Young  Man  with  Manuscript  (6x9). 

(Was  included  in  the  Famous  "Exposition  Meissonier"  1880) 

JULES  WORMS  (1832-        ). 

48.  Sunny  Road  with  Peasants  (11^^x91/2). 

JULES  LEFEBVRE  (1834-        )• 

49.  La  Cigale  (20x12). 

ALPHOXSE-MARIE  DE  NEUVILLE  (1836-1885). 

50.  French  Soldier  with  Horse  (17^/2x12^) 

FELIX-FRANCOIS-GEORGES-PHILIBERT  ZIEM 
(1821-1911). 

51.  Coast  (9x13). 

ETIENNE  PROSPER  BERNO-BELLECOUR   (1838-        ). 

52.  Soldier  Tmnc  Flowers  (13x9). 


A.  LE  COMTE. 

53.  Delft,  Winter  Evening  (19x16). 

J.  J.  VEYRASSAT  (1825-1893). 

54.  Man  with  Two  Horses  (10J/2X15). 

ITALIAN  SCHOOL 
C.  DETTI. 

55.  Procession  Communicants  (21x15). 

MINIATURES 
LAURA  COOMBS  HILLS  (1859-        ). 

56.  Portrait  of  a  Lady. 

DRAWINGS  AND  SKETCHES 

THOMAS  W.  DEWING,  N.  A.  (1851-        ). 

57.  Head,  Silver  Point  (11x8). 

EDMUND  C.  TARBELL,  N.  A.  (1862-        ). 

58.  Pencil  Sketch  (18x22^^2). 


SCULPTURE 


AMERICAN  SCHOOL 

AUGUSTUS  SAINT  GAUDENS.  N.  A.  (1848-1907). 
59.     Eight  Caryatid  Figures  (8^  feet  high). 

(The  last  works  produced  by  the  artist.) 


&0.    Venus  and  Faun. 

(A  terra  cotta  group  from  Greece.    Period  IV'  Century  B.  C.) 


10 


TAPESTRIES 


6i.     Eliezer  Before  Bethuel, 

12  feet  7  inches  by  13  feet  9  inches. 

(^2.    Abraham  and  Isaac  Welcoming  Rebecca, 
12  feet  4  inches  by  18  feet  9  inches. 

Two  Flemish  tapestries  of  the  Elarly  XVI  Century  School  of 
Jan  Van  Eyck,  executed  at  the  Brussels  Manufactory.  Both 
tapestries  are  woven  in  coloured  worsteds  and  silk  threads  on 
flax  warps,  with  scenes  in  the  ancient  Testament,  illustrative  of 
the  History  of  Rebecca  and  Isaac.  The  smaller  panel  represents 
Eliezer  asking  Bethuel  for  the  hand  of  his  daughter  Rebecca,  for 
Isaac,  the  son  of  Abraham,  his  master;  in  the  centre  of  the 
picture  is  the  faithful  messenger  relating  his  mission  to  Bethuel 
and  addressing  to  him  his  request  to  take  his  daughter  back  to 
Abraham  and  his  son  Isaac;  in  front  of  him  is  Rebecca  speak- 
ing to  her  maids,  and  on  the  right  is  the  imposing  figure  of 
Bethuel  seated  in  a  majestic  attitude,  while  male  and  female 
attendants  in  sumptuous  attire  stand  around.  The  scene  is  laid 
in  a  palatial  hall  of  rich  architectural  design. 

The  larger  panel  illustrates  the  presentation  of  Rebecca  to 
Abraham  and  his  son  Isaac.  Rebecca  and  Isaac,  with  the 
Patriarch  in  the  act  of  giving  them  his  blessing,  form  the  central 
group  in  the  picture,  and  Rebecca's  suite  of  richly-clad  attendants 
with  their  handsomely  caparisoned  horses,  and  servants  of 
Abraham,  stand  on  the  right  and  left,  or  against  the  mountainous 
landscape  background. 

The  cartoons  are  attributed  to  Jan  Mostaert,  a  painter  who 
was  born  at  Harlem  in  1474,  and  died  in  1556;  he  so  success- 
fully adhered  to  the  traditions  of  the  School  of  Jan  Van  Eyck 
that  among  other  works  of  his,  an  Adoration  of  the  Magi,  in 
Brussels,  was  long  ascribed  to  the  latter;  Mostaert,  owing  to 
his  great  respect  for  the  ancient  and  also  to  his  immense  talent, 
it  may  be  said  that  he  resumed  the  whole  school  in  himself  for 
his  works  recalled  all  at  once  the  bluish  mountainous  distances  of 
Jan  Van  Eyck,  the  richly-embroidered  and  jewelled  fabrics  of 
Memling,  the  grandiose  architectural  conceptions  of  Bernard  van 
Orley  and  Bouts'  correction  in  details,  while  for  force  of  colour 
he  yielded  to  none ;  with  him  disappeared  the  last  Flemish 
Gothic  painter. 

The  date  of  execution  of  these  fine  tapestries  must  be  placed 
between  1520  and  1528,  but  as  the  compulsory  marking  of  Brus- 
sels Tapestries  did  not  come  into  force  until  the  latter  date,  it  is 
next  to  impossible  to  ascertain  the  name  of  the  weaver,  though 
in  all  probabiHty  they  were  the  work  of  Pierre  de  Pannemaker; 
however,  as  far  as  is  at  present  known,  any  information  which 
may  have  existed  on  this  particular  point  was  destroyed  when 
the  Brussels  archives  were  burnt  down  in  the  seventeenth  century. 


II 


63.    Scene  from  Ancient  History, 

Flemish,  11  feet  7  inches  by  8  feet  10  inches. 

Perhaps  an  event  of  the  Trojan  War,  cut  down  from  a  larger 
tapestry,  with  a  wide  Renaissance  border  that  is  especially  rich 
and  pleasing. 


64.     Solomon  and  Queen  of  Sheba, 

Flemish;  a  Renaissance  tapestry,  11  feet  11  inches  by 
13  feet  2  inches,  with  typical  Renaissance  border. 

It  has  been  cut  down  some,  but  the  composition  still  remains 
interesting,  and  is  interestingly  backgrounded  by  the  landscape 
and  buildings. 


65.    Diana  Encouraging    Meleager  to  Present  the  Boar's 
Head  to  Atalanta, 

12  feet  4  inches  by  13  feet  5  inches. 

Woven  in  Paris  in  the  first  half  of  the  seventeenth  century, 
in  the  shops  established  at  the  Gobelin,  in  1601,  under  the  pro- 
tection of  Henry  IV,  by  two  Flemish  merchant  weavers,  Comans 
and  Planche;  or  in  the  independent  works  established  after  his 
father's  death  in  another  part  of  the  city  by  Raphael  de  la 
Planche,  whose  monogram  R  appears  on  other  tapestries  woven 
by  him.  Possibly  the  R  in  the  right  selvage  of  the  tapestry 
before  us  is  his  signature,  although  it  is  confused  by  another 
letter  that  cuts  into  it.  The  story  of  "Diana"  designed  by  Tous- 
saint  and  Dubreuil,  is  one  of  the  most  famous  sets  of  tapestries 
ever  woven,  and  with  "Artemisia"  series  did  much  to  establish 
the  high  reputation  of  the  early  Gobelin.  The  set  in  the  National 
French  Collection,  rich  with  gold,  and  the  set  in  the  Imperial 
Austrian  Collection,  as  well  as  the  set  in  the  Royal  Spanish 
Collections,  are  admired  by  all  who  see  them.  In  the  United 
States  there  are  at  least  two  sets,  one  of  them  a  set  of  five,  rich 
with  gold,  lent  to  the  Hartford  Museum  by  Mr.  Morgan.  The 
border  of  the  tapestry  before  us  is  characteristic  of  the  period. 


66.    Verdure  Tapestry, 

XVIII  Century  (Made  in  France  by  Flemish  weavers). 


12 


ILLUSTRATIONS 


SUMMER,  MONTCLAIR 
By  George  Inness 


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23 


GEORGE  THE  FOURTH 
By  Sir  Thomas  Lavvuence 


24 


PORTRAIT  OF  LADY  CHAMBERS 
By  Sir  Joshua  REVNOLor 


25 


M(X)NLIG}1T  ON  THE  ENGLISH  CHANNEL 
By  Ai-fked  Stevens 


26 


A  SUMMER  DAY  IN  SEVILLE 
By  Mariano- Jose-Maria-Bernado  Fortuny  y  Carbo 


27 


r,     2; 

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28 


WOMAN  WARMING  HER  HANDS  OVER  FIRE 
By  Jozef  Israels 


29 


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30 


EARLY  RExXAISSANCE  FLEMISH  TAPESTRY; 
ELIEZER  BEFOI^E  BETHUEL 


37 


SEVENTEENTH   CENTURY   FRENCH   TAPESTRY: 

(Gobelin) 

DIANA    ENCOURAGING    MELEAGER    TO    PRESENT 

THE  BOARS   HEAD  TO  ATALANTA 


32 


FLEMISH  TAPESTRY:    SCENE  FROM  ANCIENT 
HISTORY 


THE  BUFFALO  FINE  ARTS  ACADEMY  was  incorpor- 
ated December  4th,  1862,  "to  promote  and  cultivate  the 
fine  arts  and  to  that  end  to  establish  and  maintain  in  the 
City  of  Buffalo  a  permanent  art  building  or  buildings,  and 
collections  of  paintings,  sculpture,  engravings,  and  other  works 
of  art,  an  art  library,  and  art  schools  adequately  equipped  and 
having  courses  of  instruction  and  practice,  and  generally  to 
foster  art  in  all  its  branches."  The  Albright  Art  Gallery,  the 
gfift  of  Mr.  John  J.  Albright  to  the  City  of  Buffalo,  first 
occupied  in  1905,  is  open  to  the  public  every  day  from  ten  a.  m., 
with  the  exceptions  of  Sundays  and  Mondays,  when  it  is  open 
from  one  to  five  p.  m.  Admission  is  free  to  members  and  their 
families  at  all  times,  and  free  to  the  public  on  Tuesdays,  Thurs- 
days, Saturdays,  Sundays  and  Holidays;  other  days  an  admis- 
sion fee  of  twenty-five  cents  is  charged. 

The  Art  School,  in  the  same  building,  includes  departments 
of  Drawing,  Painting,  Sculpture,  Illustrations,  Decorative  Design- 
ing, Metal  Work,  Jewelry  Silversmithing,  Weaving,  Basketry 
and  Leather  Embossing.  For  further  particulars  telephone  Bid- 
well  1416. 

All  Friends  of  the  Albright  Art  Gallery  are  invited  to  become 
members.  Annual  Members — "The  Friends  of  the  Albright  Art 
Gallery" — pay  a  fee  of  five  dollars  a  year.  Life  Members  pay 
one  hundred  dollars  and  are  thenceforth  exempt  from  dues. 
The  contribution  or  devise  of  fifty  thousand  dollars  in  cash, 
securities,  or  property,  to  the  funds  of  the  Academy  shall  render 
the  donor  eligible  to  be  elected  or  declared  a  Benefactor  of  the 
Academy  by  the  Board  of  Directors.  The  contribution  of  five 
thousand  dollars  in  cash,  securities,  or  property,  to  the  funds  of 
the  Academy  shall  render  the  donor  eligible  to  be  elected  a 
Fellow  of  the  Academy  in  Perpetuity,  by  the  Board  of  Directors. 
The  contribution  of  one  thousand  dollars  in  cash,  securities,  or 
property,  shall  render  the  donor  eligible  to  be  elected  a  Fellow 
for  Life  of  the  Academy. 


